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Cinecitta Make Up

cinecitta make up

  • Cinecitta (Italian for Cinema City) is a large film studio in Rome that is considered the hub of Italian cinema.

    make up

  • The composition or constitution of something


  • The combination of qualities that form a person's temperament


  • constitution: the way in which someone or something is composed

cinecitta make up - Beat at

Beat at Cinecitta 3

Beat at Cinecitta 3

beat at cinecitta, vol. 31listenil profeta from "il profeta" 2:462listentema di oscar / berto pisano from "sissignore" 2:303listenkill them all / doris troy in-edit alternate version 4:164listenl' arcidiavolo from "l'arcidiavolo" 2:455listenamore amore amore / christy from "un italiano in america" 2:556listenplaygirl '70 (party music) party music 1 2:497listenl' eta' del malessere (beat medio) 1:488listenquand' ero un bebe' from "don giovanni in sicilia" 2:139listendove vai tutta nuda (vittorio gassman shake) (shake) [from "dove vai tu 2:1310listenonce and again from "la volpe dalla coda di velluto" 2:3211listenplaygirl '70 (party music 2) 3:0412listenvedo nudo (shake) 3:3713listenlet's find out from "vedo nudo" 3:3014listencrazy from "vedo nudo" 4:0015listeneva la venere selvaggia (shake) / roberto pregadio excerpt 4:1916listenright or wrong [from "dopo di che 'uccide il maschio e lo divora (stato 2:25

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Rossano Brazzi

Rossano Brazzi

British postcard. Photo: Associated British.

Handsome Italian actor and director Rossano Brazzi (1916-1994) personified the Latin Lover and romantic aristocrat in such Hollywood classics as South Pacific, but he also starred in many European productions. In his 55 years career, he made more than 100 films, mainly in Italy and France, but also in Germany, Spain, Great Britain, Brazil, Argentina, and the USA. In Italy, he was also a hugely popular stage and TV actor, and an accomplished stage director.

Rossano Brazzi was born in 1916, in Bologna, Italy. He was the son of Adelmo Brazzi, a shoemaker who later owned a leather factory, and Maria Ghedini Brazzi. As a young man, Rossano was quite athletic – playing soccer, tennis, golf, swimming, fencing and boxing. He was particularly good at soccer, and assumed the role of goalkeeper for the Florentine college team, where he stayed for two years. During his years at the San Marco University in Florence, he was also an amateur boxer. He quit boxing when he unintentionally but seriously hurt an opponent. He became friendly with students who were active in the University's amateur theater. His friends persuaded him to try out for a part. He did, and got it. During his second year he won an important role: the part of the prodigal son in Siro Angeli's La Casa. In 1937, he earned his law degree, and was sent by his father to practice law in Rome with an established lawyer. Meanwhile Rossano actively pursuited a stage and screen career. He started to work as an actor for a theatrical company, led by the actresses Irma and Emma Gramatica. When the company played Somerset Maugham's The Sacred Flame in Rome, film producer Michele Scalera offered Brazzi a part in his forthcoming Processo e morte di Socrate/The Trial and Death of Socrates (1939, Corrado D'Errico). A year later, the 24 year old actor astonished critics and public alike with his electric film portrayal of a middle aged Edmund Kean in the Alexandre Dumas adaptation Kean (1940, Guido Brignone). Two years later he delivered a critically acclaimed and award-winning performance in the two part classic Noi Vivi - Addio Kira/We The Living - Goodbye Kira (1942, Goffredo Alessandrini) opposite Alida Valli. Other films were Tosca/The Story of Tosca (1941, Carl Koch), the first Italian western Una donna dell'ovest/Girl of the Golden West (1942, Carl Koch) with Michel Simon, and the drama I due Foscari/The Two Foscaris (1942, Enrico Fulchignoni) based on a screenplay by Michelangelo Antonioni. His International break came in 1942, when the Ufa cast him opposite Zarah Leander in the film Damals/At That Time (1943, Rolf Hansen). In 1942, however, Rossano Brazzi was also asked to move to Milan to make propaganda pictures under government sponsorship. He refused, feigning illness, and abandoned his film career for the duration. Earlier, he had been asked to help the resistance. He capitalised upon his knowledge of the Cinecitta studio, which had been converted into a concentration camp. He helped smuggle inmates, many of them American, British and French prisoners of war. Seven days before the liberation of Rome, Brazzi was arrested by the German SS, and was turned over to the Italian authorities. A week later, Brazzi's prison guards vanished and he walked out free.

After the war, Rossano Brazzi's popularity declined in Italy. He starred in the enormously popular Aquila nera/Black Eagle (1946, Riccardo Freda), but filmmaking began to move in a new direction: the stark, gritty neo-realistic style. The neorealist directors associated Brazzi with swashbuckling adventures and romances. Thus, when American producer David O. Selznick offered him the chance to make films in America, he went to Hollywood. At the time, he could read almost no English and his accent was extraordinarily bad. After a year he was finally lent out to producer Mervyn LeRoy who used the actor as the professor in Little Women (1949, Mervyn LeRoy). But Selznick decided not to pick up his option on the actor and Brazzi fled back to Italy. He starred opposite Anna Magnani in Vulcano/Volcano (1950, William Dieterle), and returned to the stage where he had begun his career. In 1952, Jean Negulesco, a director Brazzi had met in Hollywood, offered him a part in Three Coins in the Fountain (1954, Jean Negulesco). Brazzi, as the love-smitten young Italian, played the third male lead, behind Clifton Webb and Louis Jourdan. The part was small, but the picture did well and it introduced the blue eyed hunk to international audiences as a new sex symbol. It was his multi-hued portrayal of the impotent Count Vincenzo Toriato-Faurini opposite Ava Gardner in The Barefoot Contessa (1954, Joseph L. Mankiewicz) that won him international stardom. This success was followed by the leading male role opposite Katharine Hepburn in David Lean's romance Summertime (1955). Brazzi became the first Italian actor since Rudolph Valentino to achieve the same

Doris Duranti

Doris Duranti

German postcard. Film-Foto-Verlag. A 3793/1. Difu.

Italian actress Doris Duranti (1917-1995) was not only a major star of the Italian cinema of the late 1930s and early 1940s, but also the lover a notorious fascist and the main competitor of actress Clara Calamai.

Doris Duranti was born in Livorno/Leghorn, Italy, in 1917. From 1935 on, so at a young age, she started her film career as extra or in minor parts in films like Aldebaran (Alessandro Blasetti 1935), the Tito Schipa vehicle Vivere (Guido Brignone 1937) and La gondola delle chimere (1936) by Augusto Genina. In 1936 she collaborated again with Genina in his Lo squadrone bianco, shot in Libya. Essential for her career was the film agent Eugenio Fontana, who for years arranged her deals with directors and producers. In Sentinelle di bronzo (Romolo Marcellini 1937) Duranti obtained her first real success as protagonist, playing a colored woman. From that moment on she became a film star who became famous for her elegant movements but also her aggressive behavior. Between Sentinelle di bronzo and 1945 Duranti made some 17 films. Among her major performances were Lola in Cavalleria rusticana (Amleto Palermi 1939) after the famous opera by Mascagni, and the title roles in La contessa Castiglione (Flavio Calzavara 1942) and Carmela (Calzavara 1942). In the latter, Duranti showed a naked breast, which gave life to a famous quarrel between Duranti and her rival star Clara Calamai who also flashed one breast in the period piece La cena delle beffe (Blasetti 1941). Duranti, however, claimed she was the first showing her breast standing up, proud and without make up, in contrast to Calamai who showed while lying down. Anyway, neither of the two was first, as Vittoria Carpi had already flashed a breast in the phantasy film La corona di ferro (1940) by Alesandro Blasetti.

Duranti had become one the best payed and highest esteemed actresses of the fascist regime, but, unwisely, she also started an affair with Alessandro Pavolini, a notorious fascist who in 1939 had become Minister of Popular Culture, rejecting for instance the neorealist scripts by Visconti, De Santis and others. Duranti became known as ‘the actress par excellence/for His Excellence’. Mussolini first opposed, then accepted the affair; he seems to have been smitten with Duranti’s performance in Il re si diverte (Mario Bonnard 1941), an adaptation of the opera Rigoletto, with Michel Simon as Rigoletto and Duranti as Margot. When the fascist regime fell in 1943, Duranti followed her lover Pavolini to the North, where they first lived in Venice, where the so-called Repubblica Sociale Italiana thought of reviving Rome’s Cinecitta, and after that they moved to Lake Como. Pavolini was one of the main leaders in mobilizing the fascists against the Allies and he was responsible for a brutal massacre in Ferrara in November 1943, revenging the killing of a high ufficial (it was never revealed whether partisans really had been responsible). Pavolini also had a major part in the execution in January 1944 of the members of the Grand Council who had Mussolini arrested in July 1943. Among them was Mussolini’s son-in-law Galeazzo Ciano.

When things went bad for the fascist Republic and the Allies were heading north, Pavolini managed to get Duranti a passage to Switzerland and she moved to Lugano. Here she was imprisoned and tried to kill herself by opening her veins. Pavolini was captured in April 1945, shot and hung in public in Milan next to the corpse of Mussolini. Duranti later on married a police lieutenant and moved with him to South America, where she remained for many years. In 1950 Duranti returned to Italy, where audiences apparently had forgiven her her past, as she played in several Italian films again and even had quite a few leads in films like Il voto (Mario Bonnard 1950), I falsari (Franco Rossi 1950), Clandestino a Trieste (Guido Salvini 1951) and others. All in all she played in some 14 films between 1950 and 1954, including one French film: La minute de verite (Jean Delannoy 1952). She then met the famous journalist and radio reporter Mario Ferretti, the two fell in love and they moved to Santo Domingo, where they opened up a restaurant. Duranti’s last performance was in 1976 in the film Divina creatura, directed by Patroni Griffi and starring Laura Antonelli. In 1995 Doris Duranti died in Santo Domingo, at the age of 78 years. Her life has been the subject of a tv.-series Doris, una diva di regime (1991), directed by Alfredo Giannetti and with Elide Melli playing Duranti.

Sources: Italian Wikipedia, IMDB.

cinecitta make up

cinecitta make up

Beat at Cinecitta 2

beat at cinecitta' vol.2 * etichetta crippled dick hotwax * formato mid-price cd * data uscita 11.10.2004 * barcode 881390124022carrello | lista brani:1. piero piccioni - mr. dante fontana(vocals: alberto sordi & lydia macdonald)2. piero piccioni - babylon i'm coming3. piero piccioni - per la strade di roma4. nora orlandi - a doppia faccia5. piero piccioni - colpo rovente - red hot6. nora orlandi - soho7. fred bongusto - shake per un divorzio8. armando trovaioli - bada caterina (vocal version)(vocals: carmen villani)9. piero piccioni - easy dreamer10. piero piccioni - love war call (ii. version)11. nico fidenco - london streets12. luis bacalov - sensi13. piero piccioni - party al piper14. nico fidenco - supercolpo shake15. piero piccioni - abigaille16. bruno nicolai - kiss kiss bang bang17. piero piccioni - notti caldi

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